This font is a clean, modern sans serif bold. Named after “De Rotterdam”* this huge and super cool building (read the story below). Great for headlines, Posters, Flyers but also well legible at small size in large texts. Contains All European language accents and characters. --- The Story --- *This complex is located in the Kop Van Zuid district of Rotterdam, on Wilhelminapier. I was lucky to see this building from the beginning (2009) growing up (2013) That time when I was working and living here. I was always amazed by the design and how huge it is every time I took a look at it while driving or walking on the Erasmus Bridge. When I was going to work or just hiking around the city. It has a special meaning and message for me: I started creating fonts in my free time in 2010 when I came to this city to work. I was factory worker, dishwasher etc. I grew together with this amazing construction from brick to brick, step by step. By the time its construction finished, I was able to quit my day job and become a full time freelance designer.

Hi, I’m the Lace line font! I’m drawn by hand. Each of my letters is a curved lace! I will perfectly fit sports design either it is a print, a sports team logo, or even the score of the match. I include Latin uppercase, lowercase, numbers and special symbols. So that I’m even more attractive my designer Kaer created a lot of great ligatures. I’m young and cool! Let's go, go, go!

Same Old Joke is a happy and handmade font. Use it for anything that needs a hand lettered expression. Works well with prints, cards, packaging or perhaps even a poster of your favourite chocolate! Each version of the font is full of personality, and was carefully handdrawn to keep both the legibility and the handmade feeling. I put in ligatures to substitute the most common letter repeating - to make it look even more handmade!

Introducing FLICKING, a font that's like a groovy time machine to the 60s. With its bold retro script and the added Shadow version, creating that perfect vintage look is a breeze. FLICKING offers two styles: Regular and Shadow, making it versatile for logos, invitations, labels, magazines, books, and even greeting cards. Features: Flicking Main File Has 2 Families: Regular and Shadow Instructions (Access special characters, even in Cricut Design) Simple Installations Thank you, Dharmas Studio

This blackletter font is inspired by the classical Gaelic script that was used from the 16th until mid 18th Century. Featured with beautiful lines and bold accents, this font is good for decorative type settings such as headlines, traditional newspapers, pub signs, greetings cards, and advertising purposes. You can even use this typeface for your unique logotype. With your amazing creative idea, you can use this font to make it even more outstanding and cool!

Asmiyati Script Font - A Handwritting script with a unique character! It's perfect for logos, name card, magazine layouts, invitations, headers, or even large-scale artwork.

Kenzira - A Hand Drawn Art Deco Font and minimalist character! It's perfect for logos, name card, magazine layouts, invitations, headers, or even large-scale artwork.

Stitka is a chic, refined script font that emanates sophistication and elegance. Its stylish and ligatures make this font the perfect match for any project.

This font was made to be clean and legible. It's versatile nature makes it perfect for note taking, posters, or even for long form copy.

Ribbon type. Holy grail of complex-lettering-turned typeface or an elusive Loch Ness monster that is often teased, possibly seen in the wild, but never confirmed? From the amazing lettering artist and author Martina Flor and masterful type designer Neil Summerour, comes the aptly named Ribbons. Ribbons is a sincere and well-conceived approach to providing a reliable solution to ribbon and ribbon-styled type for creative professionals when a lettering artist just isn’t available. Ribbons provides both flat and ‘folded’ options with the Regular and Fold styles, but then raises the bar with separate layer styles that will allow you to easily create the elegant back and forth movements produced with ribbon-style lettering we have all come to appreciate. These layer options are provided in both ‘smooth’ and ‘pleated’ connected styles. Flor and Summerour didn’t stop there. Each typeface was expanded with a number of stylistic alternates, additional swashed and flourished letters, ligatures, and even more in order to provide as many decorative options as possible to the creative. To round out the nine fonts available in the typeface and to ‘put a bow on it’, they’ve added a separate Shadow style and two different color fonts (available exclusively with family purchases).

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Developer-friendly The studio has developed a wide array of weights for FS Untitled – 12 in all, in roman and italic – with the intention of meeting every on-screen need. All recognisably part of a family, each weight brings a different edge or personality to headline or body copy. There’s more. Type on screen has a tendency to fill in or blow so for each weight, there’s the choice of two marginally different versions, allowing designers and developers to go up or down a touch in weight. They’re free to use the font at any size on any background colour without fear of causing optical obstacles. And to make life even easier for developers, the 12 weight pairs have each been designated with a number from 100 (Thin) to 750 (Bold), corresponding to the system used to denote font weight in CSS code. Selecting a weight is always light work. Easy on the pixels ‘It’s a digital-first world,’ says Jason Smith, ‘and I wanted to make something that was really functional for digital brands’. FS Untitled was made for modern screens. Its shapes and proportions, x-height and cap height were modelled around the pixel grids of even low-resolution displays. So there are no angles in the A, V and W, just gently curving strokes that fit, not fight, with the pixels, and reduce the dependency on font hinting. Forms are simplified and modular – there are no spurs on the r or d, for example – and the space between the dot of the i and its stem is larger than usual. The result is a clearer, more legible typeface – functional but with bags of character. Screen beginnings FS Untitled got its start on the box. Its roots lie in Fontsmith’s creation of the typeface for Channel 4’s rebrand in 2005: the classic, quirky, edgy C4 headline font, with its rounded square shapes (inspired by the classic cartoon TV shape of a squidgy rectangle), and a toned-down version for use in text, captions and content graphics. The studio has built on the characteristics that made the original face so pixel-friendly: its blend of almost-flat horizontals and verticals with just enough openness and curve at the corners to keep the font looking friendly. The curves of the o, c and e are classic Fontsmith – typical of the dedication its designers puts into sculpting letterforms. Look out for… FS Untitled wouldn’t be a Fontsmith typeface if it didn’t have its quirks, some warranted, some wanton. There’s the rounded junction at the base of the E, for example, and the strong, solid contours of the punctuation marks and numerals. Notice, too, the distinctive, open shape of the A, V, W, X and Y, created by strokes that start off straight before curving into their diagonal path. Some would call the look bow-legged; we’d call it big-hearted.

Alien Segment has got rounded corners and even though being built up upon geometry, it deserves rich text - and works well in both upper- and lowercase.

Introducing Greywall, a bold stretch sans serif font. Greywall it perfect for posters, logos, magazines, covers, banners, t-shirts and headers, or even large-scale artwork.

Zoe is a hand-drawn script that has a very even flow and is readable down to very small sizes. In big sizes it is elegant.

Roelandt BT is another beautiful script font drawn by calligrapher Rob Leuschke. Perfect for informal invitations and documents, the standard semi-connecting glyphs are simple, yet elegant. An OpenType font, Roelandt also contains a set of Swash characters. Using the OT Swash feature to access these alternate glyphs, you can quickly transform your text into a stylish and more formal presentation complete with generously sized uppercase swashes. Basic and alternative glyphs in the font support Central Europe.

This is a modern icon set with geometric shapes. A tasty set for the creation of the visual identity of shops, restaurants or bars. Thanks to its simplicity it will be perfect for printed and online materials. Baobaby Studio prepared an entire delicious set specially for you. Apart from “Meat and Seafood”, our offer also includes Dairy, Bread and Confectionery, Vegetables and Fruits. Everything in one style. Mix and match as you see fit. Bon appetit!

A new series of eclectic decorative initials, Capital Ideas 1 NF features numbers and uppercase letters rendered in nixietube displays, along with a whimsical walk through the alphabet patterned after Milton Glaser's Hologram. Capital Ideas 2 NF features K. H. Schaefer's eponynmous Versalien for Schriftguss AG in 1927, and Walter Haettenschweiler's Breitfette Unziale from 1958, along with a fancy nine-element box border. Dressing up your next projects with these snappy caps is, indeed, a capital idea.

Momotarō is a Japanese legend about a boy who came to earth inside a giant peach. He was found by a childless woman and grew up to be a hero. I'm in a Japanese mood - mainly because lately I have been working with brushes and ink a lot. Momotaro font is a very detailed brush font. It doesn't come with a hero inside a giant peach, but it does give your design work that extra oomph, ahh and wow.

This is a modern icon set with geometric shapes. A tasty set for the creation of the visual identity of shops, restaurants or bars. Thanks to its simplicity it will be perfect for printed and online materials. Baobaby Studio prepared an entire delicious set specially for you. Apart from “Vegetables”, our offer also includes Dairy, Bread and Confectionery, Meat and Seafood and Fruits. Everything in one style. Mix and match as you see fit. Bon appetit!

This is a modern icon set with geometric shapes. A tasty set for the creation of the visual identity of shops, restaurants or bars. Thanks to its simplicity it will be perfect for printed and online materials. Baobaby Studio prepared an entire delicious set specially for you. Apart from “Fruits”, our offer also includes Dairy, Bread and Confectionery, Vegetables and Meat and Seafood. Everything in one style. Mix and match as you see fit. Bon appetit!

Rigrok is a 14 style semi serif designed by Stew Deane. The design of the typeface was intended to create a premium feel that is suitable for the widest range of tasks, while still maintaining a unique sense of character. Stew designed Rigrok to draw on his graphic design experience to create a typeface that is suitable for many a design or branding job. The result is an easy to use, versatile typeface that charms with personality and character.

This growing family of friendly faces is based on the typeface Bravour, designed in 1913 by Martin Jacoby-Boy for the D. Stempel AG foundry in Frankfurt am Main. The wide stance and very large x-height shared by the family members makes them warm and inviting, and equally suitable for use in headlines or text blocks. All versions of this font include the Unicode 1250 Central European character set in addition to the standard Unicode 1252 Latin set.

This is a modern icon set with geometric shapes. A tasty set for the creation of the visual identity of shops, restaurants or bars. Thanks to its simplicity it will be perfect for printed and online materials. Baobaby Studio prepared an entire delicious set specially for you. Apart from “Dairy”, our offer also includes Bread and Confectionery, Vegetables, Meat and Seafood and Fruits. Everything in one style. Mix and match as you see fit. Bon appetit!

BAQ Rounded sets itself up as a simplistic and blocky font, but it hides a deeper form. With indents in all the right places, this font creates a double image in our mind, of the form we see and the form we know, letters that bulge into blobs and letters that are easy to follow. This double image results in a casual, over the top yet easy to read font designed for relaxing and carefree messages.

Cindie 2 is an update of the optical type Cindie Mono. It retains the monospace-stacking system of the original, but some letters have been redrawn. It also now includes a lowercase and Cindie 2 has a script accompaniment (which isn’t mono and should be used with Contextual Alternates turned on!). Good for posters, branding and headlines, Cindie 2 has 26 monospaced widths which will fit any job. Cindie 2 also comes as a Variable Font.

This slab serif font is inspired by European industrial, machine-made letters. It looks rational and geometric, but optically corrected and balanced. As the name says this font face is designed to be used by mostly for posters, headlines, visual identities and short texts. Font was created for Celebration of the 5 year anniversary of Design Studio Box from the city of Kragujevac (KG), the industrial city of Serbia. Posterizer KG contains all the Latin and Cyrillic glyphs.

Ms. Claudy is an elegant modern calligraphy font that will look awesome on wedding and event stationery, logos and branding materials, cards and so on. Ms Claudy includes includes full set of Uppercase and Lowercase Basic Characters, Numerals and Punctuation. Also it contains ligatures and a lot of stylistic alternates to perfectly re-create natural calligraphy (check the previews in order to see them all). You can check your language typing characters in text box above.

Smurrie means ‘sludge’ in Dutch. It is not an exact translation, but as good as I could find. The name refers to the rounded, blob-like shape of the glyphs. I think this font would look very good on posters, book covers and T-shirts. Smurrie is an all caps font, but upper and lower case differ and can be used together. Smurrie oozes with charm, fun and happiness and comes with a whole bunch of diacritics.

In a much needed break from complex scripts and polished packaging fonts, Koziupa and Paul decide to show their playful side. Chicle is bold, stretchable, kid-proof, pet-resistant letters. This font is made to take the abuse of software used to put together the elaborate, attention-scrambling artwork of candy, cereal, and toy packaging, or whatever boxed obscenity contains cat and dog treats. Chicle is Spanish for bubble gum. It's a definite sugar fix — no substitutes.

About family “ZestPro” Creativity and creative zest. Used to try to beat past records to add zest for monotonous jobs… Zest means something like mirth, ardor, enthusiasm, appetite, deliciousness, delight… Zest is a food ingredient that is prepared by scraping or cutting from the rind of unwaxed citrus fruits such as lemon, orange, citron, and lime. This series is composed and includes ten fonts with 631 glyphs each, with true italics, and supports of course: Latin, Greek & Cyrillic.

Hello Everyone, Introduce our new collection, Bristone – Expanded Sans Family famous logos of Technology and brands that have very strong characteristics, Bristone has 6 Fonts that allow you to get a job with satisfying results. very suitable for posters, t-shirt, packaging, branding, logotype and more. Bristone font with strong and challenging nuances. very suitable for the title, typography, clothes, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional

I was cleaning out my pencil box and found an old marker pen. I wanted to throw it away, because it was leaking all over my stuff, but decided I could use it one more time. The result is Full Blast font: a ‘brush’ font (made with that leaking old marker pen). Use if for your fireworks packaging, fiery pepper sauce bottles and whoopee cushions (and just about anything else as well). Comes with an explosive amount of diacritics.

This is a modern icon set with geometric shapes. A tasty set for the creation of the visual identity of shops, restaurants or bars. Thanks to its simplicity it will be perfect for printed and online materials. Baobaby Studio prepared an entire delicious set specially for you. Apart from “Bread and Confectionery”, our offer also includes Dairy, Vegetables, Meat and Seafood and Fruits. Everything in one style. Mix and match as you see fit. Bon appetit!

A neogrotesque with a distinct mid-century feel. Shapiro’s multi-axis Variable Font comprises of 8 text weights, from Light to Black. Three additional sizes, “Headline”, “Display” and “Max” supply another 8 weights that are spaced for larger applications. To top off the package, 8 Wide styles are ready for that extra punch. Choose Shapiro for any job that calls for a restrained but confident voice. Give your design that professional look in the blink of an eye.

Hello Everyone, ntroduce our new collection, Choxr Font is inspired by famous logos of shoes and brands that have very strong characteristics, Choxr has 4 styles that allow you to get a job with satisfying results. very suitable for posters, tshirt, packaging, branding, logotype and more. Choxr font with strong and challenging nuances. very suitable for the title, typography, clothes, Poster, magazines, brochures, packaging,Websites and much more for your design needs, making your designs more modern and professional

Dear Rae, Love Dad is a modern calligraphy font drawn by hand using ink and a folded nib dip pen on rough watercolor paper. Best used in Open Type apps, it has automatically changing alternates. It is upright, dramatic, and personal. It is named Dear Rae, Love Dad because who wouldn't like to get a letter signed, Love Dad. There is also a freebie font of several blobs and some hearts. Because it just seems right.

Garishing Worse is a multi-language font supporting the complete Latin/Latin-1 character range, as well as Latin-A (Central European), Greek, Cyrillic and Hebrew. In other words, this is more than just the usual line-up of glyphical villains. There’s even a few OpenType features to make things interesting. Just type in a bullet or a hyphen and you'll be presented with some interesting alternatives. A cool ligature or two might even pop up.